. . . this set not only restores to the catalogue important pieces . . . , but also offers a vivid snapshot of Henze's development at its most controversial, when his commitment to revolutionary Marxism produced a series of violently expressionist pieces . . . Elsewhere in the set -- the huge, introspective Piano Concerto, the ravishing Rimbaud setting "Being Beauteous" and the full-length ballet "Undine" -- there are wonderful examples of [the instinctively lyrical Henze] . . .